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TraxWeekly Issue 107
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founded march 12, 1995 _| : _____ t r a x w e e k l y # 107
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/ / / / /\ _ The Music Scene Newsletter __ __\__\/
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| TraxWeekly Issue #107 | Release date: 01 Aug 1997 | Subscribers: 954 |
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]--[Introduction]------------------------------------------------------------[
Welcome to TraxWeekly Issue #107.
Last week I fouled up Airon's article on "a little panning," so here you
will find it again with the correct diagram. Our vigilant staff writer Zinc
brings us the Demotape Directory again, along with a piece on music theory
for the layman.
Vincent Voois goes in depth on sound cards from Creative Labs, Advanced
Gravis, and Terratec. And of course, I myself am causing trouble by reading
other people's emails and making irritating remakrs about them. =)
Readers! What do you want to see in TraxWeekly? Interviews? TraxCulture?
Private and potentially embarassing email conversations? ;) Please let us
know! Send a message either to me or any of the active staff: Bibby,
Behemoth, and of course, Zinc.
Until next week!
Gene Wie (Psibelius)
TraxWeekly Publishing
gwie@csusm.edu
]--[Contents]----------------------------------------------------------------[
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/ ____/_/ __/ \ __/ / _____/ \ __/ __/ ___/_
< \____\ \ \\ \ \\____ __/ __/_\ \ \\____ \_____ \__
\ \ \ \\ \ \ww\ \\ \\ \ \ \ \ \_
_\________\________\\___\____\ \_____\\_______\\___\____\ \_____\_______\
General Articles
1. A Little Panning (reprint)....................Airon
2. Layman's Music Theory.........................Zinc
3. On Proper Requests............................Psibelius
4. Gravis vs Creative vs Terratec................Vincent Voois
5. DemoTape Directory............................Zinc
Closing
Distribution
Subscription/Contribution Information
TraxWeekly Staff Sheet
]--[General Articles]--------------------------------------------------------[
--[1. A Little Panning]----------------------------------------------[Airon]--
Ever sat there and smoked some brain cells over what panning data to put into
the command ? I'm talking Impulsetracker here now.
The panning command sits in the volume column ... so that means ... uhhm ...
from 0 to 64 ... damn! I wanted to have X38 in the volume column to free
space for a sample offset or delay command. Don't you hate having to
translate between the two datas of the Xyy command and that green stuff in
the volume column ? I do folks and here's your chart for easy reading :
OUTER RING - VOLUME COLUMN PANNING
----------------------------------
32 _ _ 32
80
30 - 78 88- 34
28 - 70 90 - 36
26 - 68 98 - 38
24 - 60 A0 - 40
22 - 58 A8 - 42
20 - 50 INNER RING - Xyy command PANNING B0 - 44
--------------------------------
18 - 48 B8 - 46
16 - 40 C0 - 48
14 - 38 C8 - 50
12 - 30 D0 - 52
10 - 28 D8 - 54
08 - 20 E0 - 56
06 - 18 E8 - 58
04 - 10 F0 - 60
02 - 08 F8 - 62
00 - 00 FF - 64
This should ease the use of these two ways of panning with commands.
Cheerio from an English guy
Tony
(Airon / Phase^D musician, Phase^D Webmaster)
http://user.cs.tu-berlin.de/~airou/phd
------------------------------------------------------------------------------
--[2. Layman's Music Theory PART ONE]---------------------------------[Zinc]--
(but don't count on future parts
unless i get lots of feedback!)
by Zinc
rays@direct.ca
INTRODUCTION:
"Basehead" is an anagram for "He's A Bead"
Until not too long ago, I thought I didn't need music theory. Unless I
plan on composing 'experimental' techno for the rest of my life, though,
I finally realized that I'd have to finally learn how to make different
sounds work together. My problem is that every single article I've ever
read in TraxWeekly or Audiophile or elsewhere were written for the learned
man (or woman, you sexism freaks!). Since I have absolutely no formal
music training, I have no idea what people are talking about when they
try to explain most theory to me. So, who better to write an article
on music theory for the musically challenged than yours truly! If you
have a decent comprehension of theory, you should probably stop reading
right now. If you have no idea how to figure out the notes in an
Augmented chord, THIS ARTICLE IS FOR YOU - READ ON!
Now I know some of you know about theory but decided to read this
anyway. If that's you, don't nitpick about technicalities in my article,
but if you want, send me feedback on how I can correct them in the future.
CHORDS
"GOAway"
First of all, let's start with the basics: chords. Two or more notes
played together is a chord. Most commonly, a chord will consist of three
or most notes. A three-note chord is called a TRIAD. The root of a chord
is the note from which a chord is constructed. For example, C is the root
note of Cmaj or Cmin etc.. The relationship of the intervals from the root
to the other notes of a chord determines the CHORD TYPE. Triads are most
frequently identified by four chord types: MAJOR, MINOR, DIMINISHED, and
AUGMENTED.
INTERVALS
"Using shareware is the art of pretending not to pirate software."
Hold on there! Intervals? I know a C major is C-E-G. Okay, so let's
break this down into intervals, using the C major scale (shown below).
(ill. 1) C D E F G A B C (D F A)
Scale Degree: 1 2 3 4 5 6 7 8 (9 11 13)
Intervals
from C: M2 M3 P4 P5 M6 M7 P8
Your C is a 1. Now, starting from the C, count three scale degrees:
C-D-E. An interval of a 4th, starting on C, would take us to an F. A
5th, G. You can see now that a C major contains a 3rd and a 5th. The fun
does not end there, however! Intervals themselves are measured by their
qualities, namely these five:
(ill. 2) M = Major
m = Minor
P = Perfect
o = Diminished (dim)
+ = Augmented (aug)
Look back at the C major scale (ill. 1) You can see that the example of
C-E-G, that's right, a Cmaj, had the Intervals of M3 and P5. In fact, all
major triads have a M3 and P5. How exactly does the M, m, P, etc. affect
the actual chord? Here are how the qualities work:
o When a MAJOR interval is flattened by half a note, it becomes a MINOR
interval. ie. M3 -> m3
E -> Eb
o When a MINOR interval is made larger by a half step, it becomes a MAJOR
interval. ie. m6 -> M6
Ab -> A
o When a MINOR or PERFECT interval is made smaller by a half step, it
becomes a DIMINISHED interval.
ie. P5 -> dim5 m7 -> dim7
G -> Gb Bb -> A
o When a MAJOR or PERFECT interval is made larger by a half step, it
becomes an AUGMENTED interval.
ie. P4 -> aug4 M9 -> aug9
F -> F#
Here's another wonderful chart! It's a Table Of Intervals. Note that
a few intervals are actually the same as another interval. These are
enharmonic equivalents (they sound the same) but are written differently.
Remember, one step is one whole note which is two half notes!
(ill. 3) m2 1/2 step
M2 1 step
aug2 1 1/2 steps
m3 1 1/2 steps
M3 2 steps
P4 2 1/2 steps
aug4 3 steps
dim5 3 steps
P5 3 1/2 steps
aug5 4 steps
m6 4 steps
M6 4 1/2 steps
dim7 4 1/2 steps
m7 5 steps
M7 5 1/2 steps
P8 6 steps
m9 6 1/2 steps
M9 7 steps
aug9 7 1/2 steps
P11 8 1/2 steps
aug11 9 steps
m13 10 steps
M13 10 1/2 steps
You may want to print that out. Anyways, using your head you should be
able to figure out any basic triad. Let's see if I can do it off the top
of my head. Hmm how about F#m.. Okay F#-A-C#? Let's see. Diminish the
3rd to m3. Checking the chart above (ill. 3) that means we go 1 1/2 steps
up... Yep, A... Then, P5 means three and a half steps which would take
us to C#. It works! If you have a keyboard (actually if you don't know
this stuff by now then probably you don't) you can play with all the basic
triads, and pretty soon you've memorized them all. Then you can move on
to 7ths and things. Basehead told me that there's really no way to tell
what chords will sound good together unless you just play them, so get a
guitar or keyboard and see what sounds good.
Anyways, that was a pretty basic introduction to theory. Hopefully
there will be more theory articles in the future for you to absorb. I
won't guarantee a follow-up to this simplistic article, but, like I said,
if I get enough people giving me feedback, I'll notice that it was worth
writing and I'll definately continue the series.
Until next time, keep tracking, and get those demotape directory updates
in to me! (oh, and AVOID THE LEMONS!)
------------------------------------------------------------------------------
--[3. On Proper Requests]----------------------------------------[Psibelius]--
Probably the most entertaining thing about being a newsletter editor is
find juicy emails like this one in your mailbox. On occasion, they cover
numerous subjects from sample and song ripping to temper tantrums being
thrown by members of various groups on various subjects. Often, they are
sent to me by various individuals within the scene who, for one reason or
another, have earned the general animosity of another individual within
the scene.
Regardless, I did find this particular message fairly funny in a twisted
sort of way, and I thought all of you might enjoy a break from all those
music theory and tracking technique articles. =)
-----
Date: Tue, 29 Jul 1997 11:46:35 -0700
To: RaD Man [ACiD Founder] <radman@acid.org>
Subject: aghgh
Guess what, Radman;
Nova, Beaner, Rimbo, and I AREN'T in ACiD/pHluid anymore, so why don't
you get a clue and take us off the fucking web page? Didn't it say
"Nova and Xenoc were kicked out in spring cleaning because nobody wanted
to listen to our music, anyway" in a past newsletter? You're so full of
shit; couldn't even admit that a couple of your best members chose to
leave the group for another. What a bunch of morons.
In the meantime, why don't you get ahold of our new groove disk #2,
including songs from Basehead, Scirocco, Ozone, Hunz, Lord Pegasus
(Zack), Stalker (Ari), Sirrus, Chris Jarvis, Me, and many more... Feel
free to drool and kick yourself as much as you want for being such a
dipshit.
-Xenoc [aNaLOGUE '97]
-----
Now frankly, this is none of my business at all, but assuming that Xenoc
is speaking for Nova, Beaner, and Rimbo...this is no way to ask anyone to
do anything. I think a simple email from a musician that states, "I am
no longer part of such-and-such group. Please remove me from the memberlist
in distribution and on the web" is much more efficient at getting results
than "get a clue," "you are full of shit," and "you are a moron" stuff.
A much better way to publicize your "Groove Disk #2" would be to send me
an advertisement for the next issue of TraxWeekly, so that the nine hundred
plus subscribers here will be alerted to the presence of a new music disk
featuring the works of the wonderful Analogue musicians Basehead, Scirocco,
Ozone, Hunz, Lord Pegasus (Zack), Stalker (Ari), Sirrus, and Chris Jarvis.
Also if one of you would be so kind as to email me at gwie@csusm.edu with
the web or ftp location of your "Groove Disk #2," I would be very happy to
feature it in next week's issue.
For those of you who are unaware, Ryan Hunt (aka pinion), who organizes
the phluid music group, has had a major hardware problem. At this point in
time he lacks a functioning modem in which to coordinate the activities of
the phluid music group. Those of you who are in the group (or have left
recently) have probably heard and seen nothing. As a result, Mr. Hunt has
not been able to get online to update the phluid web page and memberlist.
Being familiar with the world wide web will aid in understanding that web
pages are sometimes not updated as frequently as one would like.
As Mr. Hunt is a good friend of mine and lives relatively close to my
university, I am temporarily handling the group's affairs. For those
musicians who are in the group, or are even vaguely interested in releasing
anything with it, please send me a message at <gwie@csusm.edu> so that I may
have things straightened out. Thank you for your patience.
Have a good day!
-G.
------------------------------------------------------------------------------
--[4. Gravis VS Creative VS Terratec]------------------------[Vincent Voois]--
I was reading an intresting looking article about the Gus Extreme
(ViperMax as they called it as OEM) and their comparance to
Creative Labs Soundblaster series (pro, 16, AWE 32/64) wich was
presented on TraxWeekly 106.
Since i had various soundcards in my "pc-life" i think it is a good
thing to give some good facts about the different cards available..
Not only my experiences but also other people's experiences are
involved here.
Nopes, my first soundcard was not a GUS but a Soundblaster compatible
clone Prosonic 16 from MediaVision.
A good clone alas it did not last for five months when it broke down,
so i returned it to my retailer for exchange for a good one.
After haven't heard from it in about am onth i bought a Gravis
Ultrasound Max.
A real neat soundcard and hey:no stupid software mixing noise! cool!
Two weeks later the retailer wich still had my defective Soundblaster,
called up and offered me another Soundblaster compatible in exchange
for the Prosonic since they had big problems with Mediavision (A
complete line of prosonic's were very wrong assembled so many people
returned their defective soundcard)
Only because Gravis Max lacked of OPL support on the Max i decided to
accept the sb-clone exchange for the Prosonic sb-clone. (Wich became
Trust Expert, not THE best but it won't quit on you!).
"What do you want with an OPL-chip then?" That's quiet easy if you got
a C64 past and still want to do enough with generated waveforms:you
choose a card wich has a simular intergrated circuit like the SID 6581
and that became the Yamaha OPL. Okay, the Noise wave sucks, but you
can do very neat feedback tricks to create some nice hihats, and you
need more tracks than one to have some nice drumsounds created but
that's it. I have some s3m's written in adlibmode wich shows it.
Okay, to prevent heading off topic i return to the soundcard facts.
Gravis is capable of offering clear quality and sounding in wavetable
what Soundblaster x.x/pro/16 does with softwaremixing, but then
without NOISE (no offense against the music group:)).
I have now an AWE 32 (they call it SB32 PNP wich does not have
implemented Synths for mid or something in comparance to a complete SB
AWE 32).
Disadvantages of the AWE in comparance to GUS tested in Impulse
Tracker wich is one of the less editors supporting AWE:
-30 hardware tracks, Creative says 32 but they lie, it is 30,
EMU8000 only supports 30 tracks.
AWE 64 has 32 hardware and 32 software tracks (bwu, useless to my opinion
wich kind of software supports that? my opinion:buy an AWE32 if you want
EMU8000)
AWE 32 has 32 Hardware/Software tracks (?complete nonsense from
Creative as
far as i can concern or might have misunderstood things from their
documents online but it looks like 30/256 to me (if you have a fast
system).)
-Clicking:AWE is not really built for tracking:the more tricks you use
and the smaller your samples become, the more awfull clicks you hear,
you'ld rather enable Soundblaster 16 mode and listen mod's in it then
hear it on the AWE. I have found trick against clicking, but you have
to stay off the commandcolumn options, that sucks.
-Plays 16 bit samples only:yeps in IT, 8 bit samples get converted to
16 bit in order that IT can play those samples that also creates more
clicking specially when samples are very short and looped too.
-44.1 Khz hardware frequency limit:most gus samples sampled above
44Khz or will be played with a Khz rate above 44.1 will not be
sounded at all!
-EMU updating sucks:When you want to finetune a sample, you have to
constantly reinitialise the soundcard to hear the result. I finetune
in SB-16 mode since you can hear the result when you change the
frequencyvalue right away.
-RAM-upload fucks up sometimes:you have to reinitialise your soundcard
in IT because some samples are not placed correctly into the AWE RAM,
probably because the ram isn't cleared correctly after playing the
previous tune in IT.
-Canned sound:The AWE may sound warmer than it's SB x.x/pro/16
variants, it is still sounding canned and it has deprecated it's warm
base environment wich sounds colder than in SB x.x/pro/16 mode!
Advantages of AWE in comparance to GUS:
-AWE has digital processing circuit implemented, offers a neat effect
on your playing environment in chorussing and reverbing, when you
have good quality samples these things can make your song sound very
professional. Sure, invest money in external devices wich do that for
you, on an AWE these things are just toys when you have that kind of
equipment. Besides:when you have badly centered samples, these
effects fuck up your samplesounding badly!
-Memory up to 28 MB (huh? why not 32?) yes you have to put two 16 MB
simms on it and you loose 4 MB since the EMU8000 seem to reserve the
first four MB for midi-instrument mode as i understand from the
Creative's docs online, it's really lame but it isn't otherwise.
-It has a REAL surround-mode circuit implemented, hell it has a better
Midi environment in samples than gus that's for sure now!
Only:a real midifreak uses it's own external divices:he does not buy
an AWE for such purposes.
-External Soundbank support, hehehe it may look like an advantage, yes
if you are a Midifreak without external Midi-equipment, you certainly
have the wrong soundcard if you have GUS.
But when you track, you are no midifreak and trackers find external
Soundfonts very lame since it is nothing more than a midifile with
it's own samplepack SEPERATED from eachother. I rather have mod wich
is COMPLETE!
To "those" midifreaks i advise them to become a modfreak instead :)
Okay, this is info based on AWE 32 against MAX!, i don't have a
ViperMax or a GUS PNP, but as i have sensed from various PNP card users:
PNP cards suck in overall not only because Window's lacks deinstalling of
PNP-carddrivers when it does NOT find the PNP-card anymore, it still
keeping detecting PNP cards when you kick them out of your window's
user-environment because you want to have another soundcard running in it.
It's a typical PNP problem wich also teased many Macintosh users but they
had a little problem extra:the PNP-card drivers were implemented on
the PNPcard itselves, wich does not seem wrong to me, but any updating
was out of the question since they weren't set like you can software
update your USR/Rockwell/Zyxell-NVRAM-chips.
Now, the article's topic also mentions Terratec.
For the ones who do not know what Terratec produces:EWS.
EWS has 64 hardware channels (YES ultimate cool fact number one) and
has supports digital I/O (yes Ultimate cool fact number two) and seem
to work properly with extreme samplehandlings such as multilevel command
processing (cool fact number three).
It has only one bug on the moment in it's digital output:it fucks up
the samples, they are fixing it at Terratec but it will be finished in
about two months from now i guess.
More specifications and experiences on these soundcards can be read on
www.maz-sound.com.
I think Jeffrey Limm can be more specific about what each soundcard
does since he supports various in IT and can be more accurate than me i
suppose.
You have also Kurzweill from Turtlebeachexisting, but this is really more
a midicard to my opinion, it has GOOD quality but lacks various form of
good multileveled sampleprocessing adaption support without crackles
and fuckups.
Not mentioned is the SoundTrack'97 soundcard:i don't know ANYthing about
this soundcard except it is from Hoontec.
As far as i concern these soundcards, my advise is to save bucks for an
EWS and some external digital/analogue processors if you want to have
some neat effects to your songs for professional recordings.
But above all:use your common sense and ask you retailer if you may test
these soundcards locally with your own tools for a good opinion!
What a descent soundcard should have to my opinion:
-Good RAM support
-Multilevel sampleprocessing support: not only in EMS
also controllable on the card's RAM self please!
-OPL and/or MOS 6581 implementation :)
-Digital I/O,
-68Khz hardwarefrequency range,
-Ram expansion up to 64MB (how about recording audiotracks without
wasting HD-space :))
-IF implementing PNP support, only deliver a small driver calling up
cardspecs from a software updatable NVRAM installed on the SOUNDCARD!
It does not only prevent problems arising with deinstalling a PNP
soundcard.
It can be installed AGAIN without the problems wich arise due to
improper or no full deinstallation.
-IF implementing effect-toys like Chorus, Reverb, Delay, Phasing etc.
Send it to the Digital I/O and Recording DMA (the last one is tricky!)
too.
No surround offcourse, Surround is a playing tool only, people can
have two tin cans and a string between them as playing device! :)
-Last but most important:Give SDK support and specification support,
lacking good support makes you a lame company, whatever you produce!
For firm in averages, GUS wins in all, for professionality: EWS wins
above AWE.
Creative labs still does not seem to show respect for the average
home-made musicians and trackers AND gamedevelopers and they don't
deliver what they promise. They seem intrested in the money only.
Let's not discuss the SB 64-bit soundcard since it requires a pentium
90 as a minimum systemrequirement because it has totally NO onboard
RAM.
Creative still has the "go to hell" status from me in spite of the
professional level their AWE delivers;
GUS deserves it's living;
EWS keeps my attention.
Sources:
www.creafs.com
www.maz-sound.com
Maz' own experiences about EWS and Turtlebeach.
www.gravis.com
www.terratec.com
My own experiences.
Vv.
vv@musician.org
------------------------------------------------------------------------------
--[5. Demotape Directory]---------------------------------------------[Zinc]--
Greetings! This column is back once again for another run. The last
run was way back in February, and finally there is a new listing from
Sublevel 3. I plan on reviewing this CD when I get it. Look for the
review in this column. Several of these listings are probably outdated
or obselete. If there are any errors TELL ME!
Remember to mail me with any new listings at rays@direct.ca and give me
all the information possible: release date, price, name of album, style(s)
used, and so on. Your contact e-mail address is vital!
NEW: I'll now be accepting listings for those of you who also happen to
have bands and want to advertise your indie records. Also, I'll to an
in depth review in this column for anyone who wants to send me a copy of
their album. Contact me if interested and we can work something out.
PSEUDO-DISCLAIMER: :)
The following demo tape/cds are organized by artist, alphabetically.
All dates are approximate. There may be surcharges for s&h fees, etc.
I am not responsible for misinformation. Contact me to correct errors.
DEMOTAPE DIRECTORY for SUMMER 1997
--------------------------------------------------------------------------
B00MER - Negative Youth
CS - $5 US + SH ($1.25 extra for metal tape)
Industrial/techno
September 1996
boomer@a.crl.com OR www.atdt.com/bliss/form.html
--------------------------------------------------------------------------
bibby - Subsequence - Seclusion Records
CS - $5 includes SH
Techno-Rock
October 1996
bibby@juno.com
Original .ITs unavailable on the internet.
--------------------------------------------------------------------------
Electric Keet - version one point zero beta
CD - $15 or CS - $10
Everything. Classical to techno
January 1997
tracerj@asis.com OR http://asis.com/~tracerj/ek.htm
18 tracks, five exclusive to CD.
--------------------------------------------------------------------------
IQ and Maelcum - FTZ "Nothing Is True"
CD - $8 US + S&H
N/A
1995
maelcum@kosmic.org OR www.kosmic.org/areawww/
--------------------------------------------------------------------------
Mental Floss - Grey Matter
CS - $10 US
mixed techno
N/A
andrewm@io.org OR www.io.org/~andrewm/greymatter
--------------------------------------------------------------------------
PeriSoft & SupaMart - Live Inside Your Computer
CS - $6 US
Ambient/Trance/Techno
July 1996
mwiernic@pinion.sl.pitt.edu OR supamart@servtechcom
--------------------------------------------------------------------------
Sublevel 3 - Submerged
CD - $?
Ambient, Techno, Trip-Hop
? (guys, please update me on this!)
www.sublevel3.org
--------------------------------------------------------------------------
All listings follow this format:
Author/Title/[Label]
Format/Price (CS = Cassette, CD = Compact Disc, S&H = Shipping Costs)
Style(s) Used
Release Date
Contact (email/WWW)
Other
Think tracked music is commercially viable? Prove it! Support the scene!
Suggestions and comments are welcome.
- zinc / rays@direct.ca
------------------------------------------------------------------------------
]--[Closing]-----------------------------------------------------------------[
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Contributions should be mailed as plain ascii text or filemailed
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TraxWeekly is usually released over the listserver
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TraxWeekly does not discriminate based on age,
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The staff can be reached at the following:
Editor: Psibelius (Gene Wie)..............gwie@csusm.edu
Writers: Atlantic (Barry Freeman)..........as566@torfree.net
Behemoth (David Menkes)...........behemoth@mscomm.com
Bibby (Andrew Bibby)..............bibby@juno.com
Mage (Glen Dwayne Warner).........gdwarner@ricochet.net
Zinc (Justin Ray).................rays@direct.ca
ascii graphic contributors:
Cruel Creator, Stezotehic, Squidgalator2, Thomas Knuppe, White Wizard
TraxWeekly is a HORNET affiliation.
Copyright (c)1995,1996,1997 - TraxWeekly Publishing, All Rights Reserved.
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until next week! =)
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